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MURĀRI, RĀJAÇEKHARA, THEIR PREDECESSORS AND SUCCESSORS
1. The Predecessors of Murāri
We know definitely of very few dramatists of the eighth and ninth centuries. Kalhaṇa[1] mentions expressly Yaçovarman of Kanyakubja as a patron of literature, who, as we have seen, patronized Bhavabhūti and Vākpati, and we learn of his drama Rāmābhyudaya, which is mentioned by Ānandavardhana in the Dhvanyāloka, by Dhanika and Viçvanātha, but has not yet been found. To Kalhaṇa[2] also we are indebted for knowledge of the period of Çivasvāmin, who lived under Avantivarman of Kashmir (A.D. 855-83) and was a contemporary of the poet Ratnākara. He wrote many Nāṭakas and Nāṭikäs, and also Prakaraṇas, but save an occasional verse in the anthologies his fame is lost.
Anan̄gaharṣa Mātrarāja,[3] on the other hand, is known to Ānandavardhana and Abhinavagupta, and his play Tāpasavatsarājacarita is a variation on the theme of the ruse of Yaugandharāyaṇa to secure the marriage of Vatsa and Padmāvatī, in face of the deep love of the king for Vāsavadattā. Vatsa in this drama, which is of little poetic or dramatic value, becomes an ascetic on learning of his queen's supposed fate, whence the title of the play. Padmāvatī, who had become enamoured of the king from a portrait sent by the minister, follows suit. Eventually Vāsavadattā and Vatsa are united in Prayāga when each is about to commit suicide in sorrow at separation, and the usual victory is reported by Rumaṇvant to give a happy ending.
